At times, stepping out of one’s comfort zone can set about unimaginable experiences which could persist for a lifetime. Including visiting an exhibit once and ending up nearly spending more time engaging in the art world than one’s study. As someone with a fairly traditional upbringing, erotic, nudeness scenes were absolute taboo. Consequently, the taste I developed was indifferent to erotic scenery. However, Katerina Janeckova’s exhibition ‘Binds and Bonds’ changed that outlook forever. Arranged as an art installation, the show featured twenty works on media ranging from canvas to bamboo bedsheets and paper. Travelling all the way from Texas to attend the show, Katerina took her family with her for holiday, not merely because of their prominent position they partake in her newest exhibit, but more importantly in her life.
Katarina’s creations are a reflection of her life, composed of moments of significance. In this newest body of works, the inspiration was stemming from maternal feelings, once more invoked, or strengthened, by her newest-born daughter. The main themes traversed by the Slovakian artist are freedom, maternity, breastfeeding, love, and the connections between loved ones. Each work is abounded by luscious brushstrokes forming sensual portrayals, references to the Texan lifestyle and the reoccurring appearance of the russet-coloured hair of the artist.
The title of the exhibit stands for the binds and bonds which connect and chained the Corpus Christi-based artist with the people in her direct environment, ‘for the better or worse’ Katarina added. The bonds connect us, making us dependent on each other, leading to favourable as well as unfavourable consequences. Undoubtedly, the maternal bond is the most powerful one in a human relationship, as it already lays the foundation before giving birth. No surprise then Katarina’s oeuvre circles a considerable part around this concept.
Another captivating element is the disparity between works in style and nature, yet a link to the overarching theme. The syncretization of these elements paradoxically strengthens the overall appearance of this exhibit. I have the utmost respect for a solo show featuring solely one style or medium, but it can be perceived as repetitive. The daring character of Katarina exploring different media and styles is why I am so fond of the exposition.
Zooming in on the duality of styles: while some tableaux are meticulously rendered, others are discharged with passion and uncontrolled brushstrokes that form outstanding works. Unrestricted by borders, Katerina allows her oldest daughter occasionally mediate her through the process of certain pieces by remarks as to add some colour there and there. Her daughter was not only involved in the curation but also helped with painting and even signed a piece. One of the works is actually titled: ‘Painting what Alenka tells me to’.
Moving through life with different approaches supplies the Slovakian artist with irrepressible artistry to come up with novel ideas. Katarina’s ability which directed a change of heart of my taste sparked curiosity about the direction of her upcoming show.